Returning to Haifa

Scholars note that Kanafani successfully weds literary technique and political practice, as his fictional characters reflect the Palestinian condition.

Khuldun (Dov): Said S's and Safiyah's child whom they lost, who eventually became Jewish after living with his foster family, and joined the army.

[1] The return brings forth an abundance of memories and mixed feelings taking him and his wife, Safiyah, 20 years back to the 21st of April 1948.

The narrative flashes back to that day, when they were forced out of Haifa by Haganah attacks, leaving behind their home and their young son Khuldun.

He and Safiya were on opposite sides of the city; as she rushed through the crowds of people to find him, she realised Khuldun was still sleeping inside their house at Hallisa.

They stay at the house late waiting for Dov (Khuldun) to come, so that he can decide who he wants to be with after Mariam tells him the story.

He comes home late at night, wearing his army suit, and after learning everything, he doesn't have any feelings toward his real parents.

[1] Said S, feeling shocked and angry, tells Dov that he cannot use what he considers other people's fault to justify his own mistakes, as two wrongs don't make a right.

He says to Mariam that she didn't tell Dov the whole truth by only saying that "his parents left him and went", as this ignores the context in which Said and Safiyah were forced to flee.

[9][10] Returning to Haifa was adapted for the stage in Denmark, Lebanon, and state of Israel, where an Arabic and Hebrew version of it was created by Cameri Theatre of Tel Aviv.

And in 2010, another version in English was produced by Evanston's Next Theatre, which deepened the ethical debate on translating and representing Palestinian issues.

[11] According to Israeli sociologist Yehouda Shenhav-Shahrabani, "the tremendous resonance in the media of 'Return to Haifa' established Kanafani's status at the apex of Palestinian and Arab culture.

Additionally, despite representing home, exile, and journey, it was saturated by warm Mediterranean light and enhanced by soundscape city and sea.

Additionally, the reviews pointed out to the "vivid" interplay between the past and present where actors, surrounded on all sides, moved fluidly among one another.

The characters' virtuosity with language enhanced on the tempo of the play, highlighting the difficulties of communication when political rhetoric faces emotion.